Heh...I've never worked for magazines. I've worked for a few
newspapers and (especially back in those days) the reproduction was
dreadful. From an economic standpoint and considering the medium I'd
say he's pretty much on-the-money, but if someone was doing fine art
photography it would be an issue. I always come back to that Gursky
exhibition. I know a lot of people don't care for Gursky's
style...I'm not even sure I care for it all that much...but the
quality of those GIANT prints was amazing. When you can make prints
7-8 feet tall and 14-15 feet wide from digital files and have them
look that crisp and beautiful it's quite an accomplishment, IMO. That
kind of stuff is only going to happen with huge files and high bit
density. In the documentation of the Gursky exhibit it said he used
scanning backs. I have no idea what resolutions he worked at, but
they had to be pretty high.
You're right, though, if it's strictly a commercial concern for the
photographer and they know that the work will never be shown in a
medium that will betray the shortcomings of the source then it's
smart to save the money.
On Jul 29, 2005, at 8:41 AM, Winsor Crosby wrote:
> Sloppy of me. Those were my words. What he said:
>
> "What I was looking for," he says, "was how does it handle the
> transition of tone from highlight to shadow, how does it handle deep,
> deep shadow, what does it look like sharpness-wise. The Phase One was
> better. Any photographer who doesn't think so is fooling themselves.
> [But] to my eye, it wasn't $22,000 better. The question [I asked
> myself] was: Ultimately, will you see a difference on the printed
> page when this is turned into dots and ink? And the answer was, no, I
> would not. That was the deciding factor. If money were no object, I'd
> be a back shooter. But [money] is a thing.
>
> I concluded it was overkill since it would make no difference to his
> intended use.
>
> Winsor
> Long Beach, California, USA
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